be
improvements.

One has only to compare the sonatas of Mozart and Haydn with those of
Beethoven to be at once impressed with the enormous importance of the
latter. As has been stated, the experience gained with the sonata was
utilized in the First Symphony, each succeeding one showing growth.
Beethoven's artistic instinct was correct, but he did not trust to this
alone. He proceeded carefully, weighing the matter well, and his
judgment was usually right. There is evidence from his exercise books
that he had this Symphony in mind as early as 1795. It was first
produced on April 2, 1800, at a concert which he gave for his own
benefit at the Burg theatre. On this occasion he improvised on the theme
of the Austrian National Hymn, recently composed by Haydn, well known in
this country through its insertion in the Hymnal of the Protestant
Episcopal Church, under the title of Austria. Beethoven's hearing was
sufficiently intact at this time to enable him to hear his symphonies
performed, an important matter while his judgment was being formed.

The Prometheus Ballet Music, opus 43, consisting of overture,
introduction and sixteen numbers, was first performed early in 1801, and
achieved immediate success, so much so that it was published at once as
pianoforte music. In addition to the Prometheus, there is to be
credited to this period the C minor concerto, opus 37, a septet for
strings and wind, opus 20, a number of quartets, and other compositions.
The _Christus am Oelberg_ (The Mount of Olives), opus 85, Beethoven's
first great choral work, has already been mentioned. In this oratorio
Jesus appears as one of the characters, for which he has been severely
criticised. His judgment was at fault in another respect also in having
the concert stage too much in mind. The composition at times is operatic
in character, while the text calls for a mode of treatment solemn and
religious, as in Passion-music. If set to some other text, this work
would be well nigh faultless; the recitatives are singularly good, and
there is a rich orchestration. It is reminiscent of Haendel and prophetic
of Wagner. The Hallelujah Chorus in particular is a magnificent piece of
work. As is the case with the Messiah, its beauties as well as its
defects are so apparent, so pronounced, that the latter serve as a foil
to bring out its good qualities in the strongest relief. It was first
performed in the spring of 1803, in Vienna, on which occasion Beethoven